ACTING
The actress (Anna Tolputt) captured the essence of Debo completely
Tatler (In the Footsteps of the Mitfords, Scary Little Girls)
Anna Tolputt gives a charismatic turn as the eponymous cat
The Stage (Puss in Boots, Chipping Norton Theatre)
His suavity is offset by the haphazard Passepartout Anna Tolputt, who bounces and capers from mishap to mishap
The Stage (Around the World in 80 days, Chipping Norton Theatre)
All the women shine…..Most startling of all, perhaps, is Anna Tolputt as the extraordinarily named Hertha, a bespectacled, bookish image of lovelessness who early on puts a curse on her hateful town, like some strange harbinger of Stephen King’s “Carrie.” Announcing to anyone who will listen that she’d like to die in a storm, Hertha is, I suppose, the play’s sacrificial lamb.
New York Times (Spring Storm, National Theatre)
Anna Tolputt shines as the shy, ardent librarian, devastatingly left on the shelf by Arthur.
Independent on Sunday (Spring Storm, National Theatre)
It is only the death of a lonely librarian, beautifully played by Anna Tolputt, that reminds us of the sadness beneath the civic comedy
Guardian (Spring Storm, National Theatre)
Anna Tolputt is exquisite
Metro (Spring Storm, National Theatre)
The character that sticks out most is that of Anna Tolputt’s Hertha,
Telegraph (Spring Storm, National Theatre)
Above all there is Anna Tolputt as that “love of his life”, who as a spirited Miranda simply sparkles, makes one believe, in the nicest possible way, that she really does love men, “beauteous mankind” and that with such people in it the world has to be brave and new. Far and away the finest Miranda I’ve seen on this stage…
The Cornishman (The Tempest, Minack Theatre)
Anna Tolputt as Laura's mother Emma is compelling as a wife immersing herself in domestic chores to avoid confronting her husband's malaise.
Guardian (Larkrise to Candleford, Finborough Theatre)
There are also some subtly but acutely delineated relationships, in particular that between Laura’s mother (Anna Tolputt) and her depressive father
Times (Larkrise to Candleford, Finborough Theatre)
Anna Tolputt creates the role of Laura’s weary mother, proud yet humble in adversity and with a tenderness exemplified as she breaks down in despair to her aging father.
The Stage (Larkrise to Candleford, Finborough Theatre)
Anna Tolputt gave a stunning performance as the young teacher, Alice Barbin. Having lived 18 years of her life as a woman, Barbin was diagnosed, by Dr Gilbert Chesnet, played by Alastair Danson, as a biological male. Indie London (Shapeshifter, Hampstead Theatre)
…there’s not so much chemistry between Anna Tolputt as Hermia and Carl Ferguson as Lysander as sheer electricity…
Derby Evening Telegraph (Midsummer Night's Dream, Derby Playhouse)
David Threlfall gives a masterful performance as Archie…. There’s strong support from Anna Tolputt
British Theatre Guide (The Entertainer, Derby Playhouse)
Anna Tolputt is wholly credible as Mary
The Stage
(Secret Garden, Nottingham Playhouse)
DIRECTING
Happy Even After is urgent, direct and powerful: its unflinching portrayal of domestic abuse will raise questions and open eyes.
Daily Info (Happy Even After, Human Story Theatre)
Humour, pathos, shock and pain are provoked as you watch the drama unfold. […] I laughed, was close to tears, and at times also felt deeply uncomfortable.
5 stars
The Oxford Times (Dry, Human Story Theatre)
After the final powerful scene, there was a stunned silence while the audience took it all in, followed quickly by enthusiastic applause.
Daily Info (Dry, Human Story Theatre)
Much taken with DRY by Gaye Poole, which I caught in the basement of St James's Piccadilly
Tweeted by Michael Billington (Dry, Human Story Theatre)
Along with Philip Madoc (of The Last of the Mohicans fame) for Monteverdi himself, Anna Tolputt, the director, had assembled circus people too: a Swedish pole-climber; a Spanish juggler. Zanni. It's a heady mixture. And yet I believe that it is closer to the original staging of Monteverdi's work than it would first appear. These renaissance pieces have re-entered the repertoire comparatively recently, too often accompanied by an antiquarian reverence in staging which perhaps runs counter to their creators' intentions.
Guardian (Monteverdi's Flying Circus, Bridge House Theatre)
...beautifully told and absolutely captivating.
Salisbury Journal (Monteverdi's Flying Circus, Salisbury Playhouse)
An affecting Evening out.
Opera Now (Monteverdi's Flying Circus, Salisbury Playhouse)
The production builds up to a genuinely moving end as the irascible Monteverdi, now deceased, rises to make up for lost time and embrace his friends and wayward son.
The Art Desk (Monteverdi's Flying Circus, Bridge House Theatre)
Three delightful collaborations between writers and musicians.
Evening Standard (Blunderbuss, Latitude)
